Do you really call this a post-dubstep sound? In this album, it is easy to notice some crackle sounds and whack-whack sounds of timbers with some radio noises in the background. I should also admit that, I find an ambience of James Blake’s pathetic warmth and damp smell of ruins as in Burial’s tracks. Also, most of the tracks in the album make pulsing beats of Dub Techno, and creates Shoegazer’s elation as if crawling up from a dirt ground. Moreover, its melancholy could be a result of an emanation from Boards Of Canada.

However, there are few tracks that cannot be explained just by the air that they possess. In the end of the 5th track, “Balt Shakt I”, the music stirs up as if one is snatched away to somewhere by an evil angel. This tremor of being liberated or plundered reminds me of my favorite song, “We Can’t Go Wrong” by Union Of Knives (2006). The 9th track, “Etern” sounds like a ghost playing a piano while listening to a flawed record causing stylus jumps. It even sounds like Tim Hecker’s “Ravedeath 1972”sitting in the electric chair which is switched on and off repeatedly in a torturing way.

It makes sense to me that Downliners Sekt does not create something which is straightforward, given that they are from Barcelona, Spain where it is famous for Gaud’s perplexing architectures. The cover art of this album is by an artist called Arnau Pi who also is from Barcelona. It would be nice if I could relish some portion of progressing art spirit of Barcelona, through this album.